Boom (1996)
Жанр :
Время выполнения : 19М
Директор : David Claerbout
Краткое содержание
The image shows a large, splendid tree standing in a green field, filmed on a summer’s day. The leaves move in the wind and the sun’s rays glide over the tree. After a moment of contemplation it seems to the viewer as if the tree is performing a kind of theatrical dance that contrasts moments of sunshine and shade.
A musical horror story about two young women who are stalked through a shopping mall by a cannibal. He follows them home, and here the victims become the aggressors.
Seemingly at random, the wings and other bits of moths and insects move rapidly across the screen. Most are brown or sepia; up close, we can see patterns within wings, similar to the veins in a leaf. Sometimes the images look like paper cutouts, like Matisse. Green objects occasionally appear. Most wings are translucent. The technique makes them appear to be stuck directly to the film.
In Manhattan's Central Park, a film crew directed by William Greaves is shooting a screen test with various pairs of actors. It's a confrontation between a couple: he demands to know what's wrong, she challenges his sexual orientation. Cameras shoot the exchange, and another camera records Greaves and his crew. Sometimes we watch the crew discussing this scene, its language, and the process of making a movie. Is there such a thing as natural language? Are all things related to sex? The camera records distractions - a woman rides horseback past them; a garrulous homeless vet who sleeps in the park chats them up. What's the nature of making a movie?
What are they? What do they seek? When all the lights go out, they will wander. And you will never see them.
A visual reinterpretation of dance and animated found footage.
Experimental film consisting of a single static shot of the Empire State Building from early evening until nearly 3 am the next day.
A dark comedy about a murder and its consequences presented in a backwards manner, where death is actually a rebirth. The film starts with an "execution" of the main protagonist and goes back to explore his previous actions and motivations.
A last tour throughout a day through the signs and the memory of a house. A sensory and poetic exploration that reflects an intimate and nostalgic look at the places we inhabit and the way they contain us.
100 basic images switching positions for 4000 frames.
A short film by Bryce Hodgson.
A creation myth realized in light, patterns, images superimposed, rapid cutting, and silence. A black screen, then streaks of light, then an explosion of color and squiggles and happenstance. Next, images of small circles emerge then of the Sun. Images of our Earth appear, woods, a part of a body, a nude woman perhaps giving birth. Imagery evokes movement across time. Part of the Dog Star Man series of experimental films.
An experimental short film by Walerian Borowczyk and Jan Lenica.
После катастрофической глобальной войны молодой режиссер просыпается в кровавой бойне и ищет убежища в единственном выжившем: эксцентричной, идеологически оппозиционной фигуре вооруженных сил Соединенных Штатов. Вместе они преодолевают токсичный ландшафт в поисках безопасности... и ответов.
Consistent stylistic-thematic structures link and merge throughout the bewildering event chain. The distinction between organic forms and human artifacts is blurred by the visual style which is enigmatic without being ambiguous.
Single frame exposures of words.
В некоем Доме-музее работает сторожем странный молодой человек. Однажды ночью в ванной он встречает другого странного человека, похожего на некоего известного писателя. Тот самозабвенно моется, на требование паренька покинуть помещение госучреждение отвечает нечленораздельным бормотанием…
A live action footage of a smiling, bespectacled (presumably) Western tourist set against the familiar cadence of an accelerating train revving up as it leaves the station sets the mesmerizing tone for the film's abstract panoramic survey of an Ozu-esque Japanese landscape of electrical power lines, passing trains, railroad tracks, and the gentle slope of obliquely peaked, uniform rooflines as Breer distills the essential geometry of Mount Fuji into a collage of acute angles and converging (and bifurcating) lines .
Кто не мечтал переснять финал любимого фильма? Спасти героя “Титаника” или “Железного человека”? Ким стал для этого режиссёром. Теперь его единственная цель – протащить свою безумную концовку через производственный ад. А для этого придётся обмануть всех: от актёров и продюсеров до киношной мафии, умеющей превращать талантливых режиссёров в неопытных каскадёров...
